Rasa Theory
RASA THEORY:
Rasa is said to arise when the sthāyībhāva in the individual is awakened by his perception of the vibhāvas, anubhāvas, vyabhicāribhāvas, and sāttvic bhāvas..
Vibhāvas are the stimuli such as the story, the stage and the actors responsible for the awakening of the sthāyi, i.e. the latent sentiment in the spectator. The vibhāvas are of two kinds: ālambana vibhāva is the basic stimulus capable of arousing the sentiment, whereas uddipana vibhāva is the enhancing stimuli, the environment in which the basic stimulus is located.
Eg. In case of arousing the sentiment of pity or karuna rasa, the perception of an old weak woman on the stage is the ālambana vibhāva; and the that of thatched hut in which the old woman is lying and the surrounding atmosphere of neglect and poverty is the uddipana vibhāva.
However, it must be noted that vibhāva is not the ‘cause’ of producing any emotion but only the ‘medium’ through which it passes to spectator by means of ‘sympathetic induction’. Thus, in aesthetic induction, every thing is a medium rather than a cause and this is because ‘what is transferred is always a generalized feeling’ (neither a result nor a knowledge). This transference however, implies not the production of any new emotion in the spectator, but only the awakening of latent sentiment.
Anubhāvas are the deliberate manifestations of feelings on the part of the actor (in accordance with the mood at aim). They consist of the various gestures and glances etc. of the actor which are intended to develop the basic stimulus or the vibhāva.
Eg. In the case of śrngāra rasa the presence of a beautiful young girl on the stage is a vibhāva and her movements and glances are the anubhāvas.
Vyabhicāribhāvas are the transient emotions which arise in the course of maintaining and developing the basic mood; they are the ancillary emotions determined by the basic emotion (in the scene or the story) and Vyabhicāribhāvas in turn reinforce the
Rasa is said to arise when the sthāyībhāva in the individual is awakened by his perception of the vibhāvas, anubhāvas, vyabhicāribhāvas, and sāttvic bhāvas..
Vibhāvas are the stimuli such as the story, the stage and the actors responsible for the awakening of the sthāyi, i.e. the latent sentiment in the spectator. The vibhāvas are of two kinds: ālambana vibhāva is the basic stimulus capable of arousing the sentiment, whereas uddipana vibhāva is the enhancing stimuli, the environment in which the basic stimulus is located.
Eg. In case of arousing the sentiment of pity or karuna rasa, the perception of an old weak woman on the stage is the ālambana vibhāva; and the that of thatched hut in which the old woman is lying and the surrounding atmosphere of neglect and poverty is the uddipana vibhāva.
However, it must be noted that vibhāva is not the ‘cause’ of producing any emotion but only the ‘medium’ through which it passes to spectator by means of ‘sympathetic induction’. Thus, in aesthetic induction, every thing is a medium rather than a cause and this is because ‘what is transferred is always a generalized feeling’ (neither a result nor a knowledge). This transference however, implies not the production of any new emotion in the spectator, but only the awakening of latent sentiment.
Anubhāvas are the deliberate manifestations of feelings on the part of the actor (in accordance with the mood at aim). They consist of the various gestures and glances etc. of the actor which are intended to develop the basic stimulus or the vibhāva.
Eg. In the case of śrngāra rasa the presence of a beautiful young girl on the stage is a vibhāva and her movements and glances are the anubhāvas.
Vyabhicāribhāvas are the transient emotions which arise in the course of maintaining and developing the basic mood; they are the ancillary emotions determined by the basic emotion (in the scene or the story) and Vyabhicāribhāvas in turn reinforce the